Audio Research LS27 Manual Do Utilizador
Performance
As someone with an interest in making electronic music, I’ve been toying with the
idea of purchasing a vintage Roland TR-808 drum synthesizer. The 808, as this
instrument is popularly known, is easily the most popular drum machine of all
time, and has been deeply influential in many musical genres, including pop, rap,
R&B, blues, house, and electronic music. Discontinued in 1984, the 808 sounds
significantly better in many ways than its replacement, Roland’s TR-909.
idea of purchasing a vintage Roland TR-808 drum synthesizer. The 808, as this
instrument is popularly known, is easily the most popular drum machine of all
time, and has been deeply influential in many musical genres, including pop, rap,
R&B, blues, house, and electronic music. Discontinued in 1984, the 808 sounds
significantly better in many ways than its replacement, Roland’s TR-909.
Although each TR-808 sounds slightly different from other TR-808s, all share the
same superclean, transparent sound, and the instrument’s bass drum goes almost
insanely subsonic — so low that it has blown out more than a few studio monitors
over the years. However, the 808’s unique characteristics are lost through many
audio systems, even some expensive ones.
same superclean, transparent sound, and the instrument’s bass drum goes almost
insanely subsonic — so low that it has blown out more than a few studio monitors
over the years. However, the 808’s unique characteristics are lost through many
audio systems, even some expensive ones.
So when ARC’s LS27 showed up on my doorstep, I was looking forward to hearing
how well it could convey the 808’s singular sounds. I was also eager to hear
what the LS27 could do with my MartinLogan Summit X electrostatic speakers. As
many audiophiles know, the marriage of electrostats and tubes can often produce
heavenly results.
how well it could convey the 808’s singular sounds. I was also eager to hear
what the LS27 could do with my MartinLogan Summit X electrostatic speakers. As
many audiophiles know, the marriage of electrostats and tubes can often produce
heavenly results.
I began my listening using, as a source, a Marantz UD9004 Blu-ray player modified
by Tube Research Labs. However, it soon became apparent that there was a possibly
significant problem: inexplicably, the LS27 kept shutting down. My first thought
was a reasonable enough one: the LS27 was somehow defective. However, within
a few minutes, I realized that the frequencies for certain functions of my UD9004’s
remote control overlapped with those of some functions of the LS27’s remote.
Pressing the skip forward or back button on the Marantz’s remote turned off the
ARC. Pressing other buttons on the UD9004’s remote made the LS27 do a variety
of other things I didn’t want it to, such as select a different input. The next day I
called Dave Gordon, who told me what I already suspected: This was a very rare
problem for which nothing could be done. Obviously, this did not, over the next
few months, make my life any easier.
by Tube Research Labs. However, it soon became apparent that there was a possibly
significant problem: inexplicably, the LS27 kept shutting down. My first thought
was a reasonable enough one: the LS27 was somehow defective. However, within
a few minutes, I realized that the frequencies for certain functions of my UD9004’s
remote control overlapped with those of some functions of the LS27’s remote.
Pressing the skip forward or back button on the Marantz’s remote turned off the
ARC. Pressing other buttons on the UD9004’s remote made the LS27 do a variety
of other things I didn’t want it to, such as select a different input. The next day I
called Dave Gordon, who told me what I already suspected: This was a very rare
problem for which nothing could be done. Obviously, this did not, over the next
few months, make my life any easier.
I looked around for recordings I had that featured the Roland 808, and the first one
I cued up was “Sexual Healing,” from The Very Best of Marvin Gaye (CD, Motown
530 292-2). Vocals excepted, this song was performed entirely on an 808. It was
readily apparent that the LS27 could throw a large soundstage characterized by
depth of field and very solid images. Moreover, I could clearly identify the 808’s
trademark drum rhythms. The hazy, superfluous electronic grunge that, through
some systems, makes the 808 sound less transparent and more like a 909, was
virtually absent. Right from the start, the LS27 proved that the Beastie Boys were
right when they rapped, in “Super Disco Breakin’,” “make no mistake, nothing
sounds quite like an 808.”
I cued up was “Sexual Healing,” from The Very Best of Marvin Gaye (CD, Motown
530 292-2). Vocals excepted, this song was performed entirely on an 808. It was
readily apparent that the LS27 could throw a large soundstage characterized by
depth of field and very solid images. Moreover, I could clearly identify the 808’s
trademark drum rhythms. The hazy, superfluous electronic grunge that, through
some systems, makes the 808 sound less transparent and more like a 909, was
virtually absent. Right from the start, the LS27 proved that the Beastie Boys were
right when they rapped, in “Super Disco Breakin’,” “make no mistake, nothing
sounds quite like an 808.”
Also, with “We Belong Together,” from Mariah Carey’s The Emancipation of Mimi
(CD, Island B000578402), the LS27 wonderfully brought out the unique sound
— synthesized, metallic, perhaps unnatural — of the 808’s hi-hat cymbal. Those
traits came through on this track, revealing that the LS27 was one tube preamp
that was transparent and timbrally discriminating. That it managed to do this while
maintaining a liquid, refined midrange was demonstrated by its velvet-smooth
and textured portrayal of Carey’s voice.
(CD, Island B000578402), the LS27 wonderfully brought out the unique sound
— synthesized, metallic, perhaps unnatural — of the 808’s hi-hat cymbal. Those
traits came through on this track, revealing that the LS27 was one tube preamp
that was transparent and timbrally discriminating. That it managed to do this while
maintaining a liquid, refined midrange was demonstrated by its velvet-smooth
and textured portrayal of Carey’s voice.
I next turned to Kanye West’s appropriately titled 808s & Heartbreak (CD, Roc-A-Fella/
Def Jam 1791341). Obviously, by the time a track finds its way onto a pop CD, its
dynamics have been crunched significantly in the production process. However,
with the LS27, the 808’s distinctive, super-low-octave bass drum in “Love Lockdown”
Def Jam 1791341). Obviously, by the time a track finds its way onto a pop CD, its
dynamics have been crunched significantly in the production process. However,
with the LS27, the 808’s distinctive, super-low-octave bass drum in “Love Lockdown”
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"The LS27 managed to
do such things as excel
at the retrieval of inner
at the retrieval of inner
detail, while at the
same time sounding
wonderfully flowing,
wonderfully flowing,
refined, and musical."